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ADELAIDE A. PROCTER 



Wnz Hafcesitie %>zx\t* of ©ngli^t) Beaming* 



SELECTIONS 
From the Writings of 

ADELAIDE A. PROCTER 

1! 

With Notes and Questions 






CHICAGO 

AINSWORTH & COMPANY 

1904 



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Copyright 1904 

BY 

AINSWORTH & COMPANY 

L. O. 100. 



PREFACE 



It is a generally admitted fact that intellectual and moral 
culture, exclusive of the religious sentiment, is a failure. It 
is equally true that the world is now turning to the Catholic 
Church as to its bulwark against "the fierce on-coming and 
all-levelling powers of universal destruction;" therefore it 
becomes more and more imperative to muster the forces 
that society expects to find in the body to whose guardian- 
ship the faith has been confided. ■ 

Catholic educators have the responsibility. Their best 
weapon is literature. Though Catholic authors are not 
given the highest places in literary honors, they should not 
be denied worthy consideration. They give soulful expres- 
sion to the true and the beautiful, and by these the mind is 
captivated and the heart won. Other purpose than this, 
literature has none. 

To render this agency for ennobling thought more effectual 
by familiarizing young minds with pure and beautiful im- 
agery, these studies have been prepared; and a brief and 
simple form has been adopted that the wants of our Catholic 
preparatory schools may be supplied. Drawn from Catholic 
sources, the selections are pregnant with those supernatural 
motives that faith inspires, — motives discovering the joy in 
righteousness and unselfish aims, and realizing the Christian's 
obligation and destiny, as learned from the first page of the 
Catechism — " Man was created to reverence, adore, love, and 
serve God in this world and thus be happy with Him forever 
in the next." 

If their message be thus understood, the poet's art will 
have its recompense, the compiler's work its bountiful reward. 

The Compiler 



INTRODUCTION 



ADELAIDE A. PROCTER 

(1825-1864) 



The many messages of love and duty given to 
the English speaking world through the pen of 
Adelaide A. Procter were collected into one vol- 
ume and published in the year 1858. It speaks 
highly for these poems that the introduction was 
written by Charles Dickens, an intimate friend of 
the poet's father Bryan Waller Procter, (Barry 
Cornwall) , well known in literary and 
Life social circles. Miss Procter's poems 

received Dickens's unbiased appre- 
ciation as all her communication with him, as a 
writer, was carried on by letter under the assumed 
name of Miss Mary Berwick. 

From his introduction we take this short sketch 
of her life. 

"Miss Procter was born in Bedford Square, 
London, the 30th of October, 1825. Her love of 
poetry was conspicuous at a very early age, a tiny 



8 ADELAIDE A. PROCTER 

album made of small note paper, into which her 
favorite passages were copied for her by her moth- 
er's hand before she herself could write, she carried 
about as another little girl would carry a doll. 
She soon displayed remarkable memory and great 
quickness of apprehension. As soon as she had 
completely vanquished the difficulties of any one 
branch of study she passed to another. It was 
not at all suspected in her family that she had any 
gift of authorship. Her father had no idea of her 
having ever attempted to turn a rhyme, until her 
first little poem saw the light in print/ ' 

She became a Catholic in 1851. Many of her 
poems portray the anxious desires of a soul seeking 
rest in the peace of God. When she had become 
famous, and opportunities were opening on every 
side, her health began to fail, and in 1862 she was 
seized by the malady which brought her short life 
to a close, Feb. 2, 1864. 

In 1858, Miss Procter's " Legends and Lyrics," 
in two series, and "A Chaplet of Verses/' num- 
bering about one hundred and seventy poems 
were published. Of these "A Lost Chord" 
is, perhaps, the best known, although the verses, 
"A Doubting Heart," have great merit and there 
is fine word-painting in "A Tomb in Ghent." Her 



INTRODUCTION 9 

short poems, " One by One," " Our Titles," "The 
Tyrant and the Captive," and "The Angel's 

Story" are familiar to many. "The 
Works Legend of Provence" and "The 

Sailor Boy" are her longest poems, 
both of them characteristic and worthy. 

"There are two theories regarding poetry. One 
of these theories is that genius is rare, recondite, 
unusual; that its creations are, by the very nature 
of things, little likely to be appreciated. Another 
theory says genius is that which possesses the 
faculty of incarnating universal affections in a 
type readily and instinctively appropriated by the 
imagination. The poems we are now considering 
[Miss Procter's] which have won general admiration 
wherever they are known, belong to the latter class. 
Their simple, delicate beauty appeals alike to men 
and women, and to the soul of the young child; 
their transparent clearness is that of an unusually 
lucid intellect ; their profoundness is only that of a 

believing heart. They are popular 
Criticisms because they are instinct with dainty 

feminine genius, and reach the 
hearts of others with the sure, precise touch of 
slender fingers awakening the silver chords of a 
harp."— Catholic World, March, 1866. 



10 ADELAIDE A. PROCTER 

Of Miss Procter, Charles Dickens wrote : "In the 
the spring of 1853 I observed a short poem among 
the proffered contributions, very different, as I 
thought, from the shoal of verse perpetually set- 
ting through the office, and possessing much more 
merit.' * Genius recognized genius. 

" ' A Lost Chord* " is one of the most character- 
istic of Miss Procter's poems; she need have written 
but these few lines to claim her place among the 
true poets, for in this sweet song we find the dis- 
tinguishing mark of every poetical soul — an ex- 
quisite perception of beauty and the sense of 
completeness which every true lover of the beauti- 
ful feels. There is a strong resemblance between 
Mrs. Hemans and Miss Procter, but Miss Procter's 
poems have a force and vigor that Mrs. Hemans 's 
have not. Miss Procter has strength in sweet- 
ness." — Champlain Educator. 

"Her [Miss Procter's] works will not suffer by 
comparison with E. B. Browning, or those of any 
other woman singer in the English language." — 
Dictionary of Catholic Authors. 



A LOST CHORD 11 



A LOST CHORD 



"A Lost Chord" is a lyric, belonging to the 
class called reflective. It reveals the finite seek- 
ing the Infinite, the restless soul yearning for re- 
pose in the one source of true peace. Miss Procter 
has written many poems of the same tenor, — 
"Per Lucem ad Pacem," "A Shadow," "Phan- 
toms and the Golden Gate," "Golden Days," and 

others. Their sentiment forcibly 
Class reminds one of the saying of the 

great St. Augustine, "For Thyself, 
God, Thou hast made us, and our hearts will be 
restless till they rest in Thee." Those who read 
Miss Procter's poems should not suppose from 
their tone that her mind was of a gloomy or de- 
spondent cast. She was exceedingly humorous, 
and appreciated this quality in others, as may be 
seen from the letters she wrote to her family from 
Turin while visiting that city in 1853. 

Miss Procter's poems exemplify the mission of 
woman, namely, to make the world better, to 
realize the true, and to beautify the good. The 



12 ADELAIDE A. PROCTER 

particular purpose of this poem, " A Lost Chord ," 

is to strengthen our hope in the 
Style expectation of Eternal Peace. The 

style is simple. The emotion de- 
scribed is expressed with a pleasing naturalness 
and originality in polished and harmonious diction. 
The poem contains seven four-line stanzas, with 

trimeter, hypermeter and trimeter 
Verse verses alternating. The meter is 

mixed iambic. 



A LOST CHORD 13 



A LOST CHORD 



Seated one day at the organ, 
I was weary and ill at ease, 

And my fingers wandered idly 
Over the noisy keys. 

5 I do not know what I was playing, 
Or what I was dreaming then; 
But I struck one chord of music, 
Like the sound of a great Amen. 

It flooded the crimson twilight, 
10 Like the close of an Angel's Psalm, 
And it lay on my fevered spirit 
With a touch of infinite calm. 

It quieted pain and sorrow, 
Like love overcoming strife; 
15 It seemed the harmonious echo 
From our discordant life. 

It linked all perplexed meanings 

Into one perfect peace, 
And trembled away into silence, 
20 As if it were loth to cease. 



14 ADELAIDE A. PROCTER 

I have sought, but I seek it vainly, 

That one lost chord divine, 
Which came from the soul of the Organ, 

And Entered into mine. 

25 It may be that Death's bright angel 
Will speak in that chord again; 
It may be that only in Heaven 
I shall hear that grand Amen. 



NCOMPLETENESS 15 



INCOMPLETENESS 



" Incompleteness" is one of Miss Procter's 
"beautiful lyrics, full of the melody of rhythm, 
and having its source in the fine instinct of the 
poet's ear." In this poem, with the far-reaching 
genius of the philosopher, she has grasped with 
power and handled with skill the idea of the 
finite reaching its perfection in the fulfilment of 
of its prototype in the Divine Mind. 
Classification As the smoothness of the diction 
attracts the ear, the truth and 
beauty of the thought captivate the heart, and 
this poem, like many of her other verses, "is des- 
tined to float on the surface of English literature 
with the same secure buoyancy as Herrick's 
Daffodils." 

The poet's lesson bears a message to every 
reflecting mind. The changes of the world of 
sense and soul, both are but the development of the 
power inherent in every phase of creation for a 



16 ADELAIDE A. PROCTER 

11 fuller, higher beauty than its own." The Divine 
Master made a formal statement of 
The Lesson this evident truth in those impressive 
words, " Unless the grain falling 
into the ground die, it of itself remaineth alone." 
The purpose then of the poet is to show the on- 
ward and upward working of all nature that " leads 
to further sweetness." The keynote of the poem 
lies in the lines: — 

"Learn the mystery of Progression duly: 
Do not call each glorious change, Decay; 

But know we only hold our treasures truly, 
When it seems as if they passed away." 

The rich undercurrent of thought in these stan- 
zas brings us in touch with the realities of life. 
We feel, instinctively, the truth of the lesson there 
conveyed in a clear, strong, and graceful style. It 

is one of those poems having "that 
Style short felicity of expression and that 

perfect finish in their parts, that 
cause such poems to abide in the memory." From 
beneath the verdure of Spring we anticipate with 
the poet the bright Summer's gorgeous flowers; 
or, in fancy we follow the falling blossom's fair 
promise of ripening fruit that Autumn's hand will 
yield. Again the poet leads us to the threshold of 



INCOMPLETENESS 17 

day to watch the fair dawn develop into glo- 
rious sunlight, or in the dim twilight to witness 
the gathering gloom evolve into starry night. 
Higher still ascends our poet in the chain of In- 
completeness when she notes the mysterious con- 
trast between smile and frown, sorrow and joy in 
the progress of human life. Then soaring aloft to 
the source of the Infinite she links the human with 
the divine, where alone is found completeness. 
Incompleteness contains seven four line stanzas 
of mixed trochaic pentameter, rhym- 
Structure i n S alternately. The irregularities 
of Verse that occur do not detract from the 
music of the verse. 



18 ADELAIDE A. PROCTER 



INCOMPLETENESS 



Nothing resting in its own completeness 
Can have worth or beauty; but alone 

Because it leads and tends to further sweetness, 
Fuller, higher, deeper than its own 

5 Spring's real glory dwells not in the meaning, 
Gracious though it be, of her blue hours; 
But is hidden in her tender leaning 

To the Summer's richer wealth of flowers. 

Dawn is fai#, because the mists fade slowly 
10 Into day, which floods the world with light; 
Twilight's mystery is so sweet and holy 
Just because it ends in starry Night. 

Childhood's smiles unconscious graces borrow 
From Strife, that in a far-off future lies; 
15 And angel glances (veiled now by Life's sorrow) 
Draw our hearts to some beloved eyes. 

Life is only bright when it proceedeth 
Towards a truer, deeper Life above; 
Human Love is sweetest when it leadeth 
20 To a more divine and perfect Love. 



INCOMPLETENESS 19 

Learn the mystery of Progression duly; 

Do not call each glorious change, Decay; 
But know we only hold our treasures truly, 

When it seems as if they passed away. 

25 Nor dare to blame God's gifts for incomplete- 
ness ; 
In that want their beauty lies; they roll 
Towards some infinite depth of love and sweet- 
ness, 
Bearing onward man's reluctant soul. 



20 ADELAIDE A. PROCTER 



THE ANGEL'S STORY 



[" The Angel's Story " is a beautiful narrative of heaven- 
rewarded charity. The poor little urchin to whom a child of 
luxury had in pity given a bunch of "reddest roses," perished 
with the fading blossoms. Afterwards, he came as the "radiant 
angel" to visit his dying benefactor, and in gratitude bore 
him to heaven.] 

Through the blue and frosty heavens 
Christmas stars were shining bright ; 

Glistening lamps throughout the City 
Almost matched their gleaming light; 

While the winter snow was lying, 

And the winter winds were sighing, 
Long ago, one Christmas night. 



Yet one house was dim and darkened; 

Gloom, and sickness, and despair, 
Dwelling in the gilded chambers, 

Creeping up the marble stair, 
Even stilled the voice of mourning — 

For a child lay dying there. 



THE ANGEL'S STORY 21 

The skill of that mighty City 

To save one little life was vain, — 

One little thread from being broken, 

One fatal word from being spoken; 
Nay, his very mother's pain, 

And the mighty love within her, 
Could not give him health again. 



Suddenly an unseen Presence 

Checked those constant moaning cries, 
Stilled the little heart's quick fluttering, 

Raised those blue and wondering eyes. 
Fixed on some mysterious vision, 

With a startled sweet surprise. 

For a radiant angel hovered, 

Smiling o'er the little bed; 
White his raiment; from his shoulders 

Snowy dove-like pinions spread, 
And a starlike light was shining 

In a Glory round his head. 

While with tender love, the angel, 

Leaning o'er the little nest, 
In his arms the sick child folding, 

Laid him gently on his breast, 
Sobs and wailings told the mother 

That her darling was at rest. 



22 ADELAIDE A. PROCTER 

So the angel, slowly rising, 

Spread his wings and through the air 
Bore the child, and, while he held him 

To his heart with loving care 
Placed a branch of crimson roses 

Tenderly beside him there. 



While the child, thus clinging, floated 
Towards the mansions of the Blest, 

Gazing from his shining guardian 
To the flowers upon his breast, 

Thus the angel spake, still smiling 
On the little heavenly guest. 



"Know, dear little one, that Heaven 
Does no earthly thing disdain, 

Man's poor joys find there an echo 
Just as surely as his pain; 

Love, on earth so feebly striving, 
Lives divine in Heaven again! 



"Once in that great town below us, 
In a poor and narrow street, 

Dwelt a little sickly orphan; 
Gentle aid, or pity sweet, 

Never in life's rugged pathway 
Guided his poor tottering feet. 



THE ANGEL'S STORY 23 

"All the striving anxious forethought 
That should onty come with age, 

Weighed upon his baby spirit, 

Showed him soon life's sternest page; 

Grim Want was his nurse, and Sorrow 
Was his only heritage. 



"One bright day, with feeble footsteps, 
Slowly forth he tried to crawl, 

Through the crowded city's pathways, 
Till he reached a garden-wall, 

Where 'mid princely halls and mansions 
Stood the lordliest of all. 



"He, against the gate of iron, 
Pressed his wan and wistful face, 

Gazing with an awe-struck pleasure 
At the glories of the place ; 

Never had his brightest day-dream 
Shone with half such wondrous grace. 

"You were playing in that garden, 
Throwing blossoms in the air, 

Laughing when the petals floated 
Downwards on your golden hair; 

And the fond eyes watching o'er you, 

And the splendor spread before you, 
Told a House's Hope was there. 



24 ADELAIDE A. PROCTER 

"When your servants, tired of seeing 
Such a face of want and woe, 

Turning to the ragged orphan, 
Gave him coin, and bade him go, 

Down his cheeks, so thin and wasted, 
Bitter tears began to flow. 



"But that look of childish sorrow 
On your tender child-heart fell, 

And you plucked the reddest roses 
From the tree you loved so well, 

Passed them through the stern, cold grating 
Gently bidding him 'Farewell.' 



"Dazzled by the fragrant treasure 
And the gentle voice he heard, 

In the poor forlorn boy's spirit, 
Joy, the sleeping Seraph, stirred, 

In his hand he took the flowers, 
In his heart the loving word. 

"So he crept to his poor garret; 

Poor no more, but rich and bright, 
For the holy dreams of childhood — 

Love, and Rest, and Hope, and Light- 
Floated round the orphan's pillow 

Through the starry summer night. 



THE ANGEL'S STORY 25 

Day dawned, yet the visions lasted; 

All too weak to rise he lay; 
Did he dream that none spake harshly, — 

All were strangely kind that day? 
Surely then his treasured roses 

Must have charmed all ills away 



"And he smiled, though they were fading* 
One by one their leaves were shed: 

'Such bright things could never perish, 
They would bloom again/ he said. 

When the next day's sun had risen 
Child and flowers both were dead. 



"Know, dear little one! our Father 
Will no gentle deed disdain; 

Love on the cold earth beginning 
Lives divine in Heaven again, 

While the angel hearts that beat there 
Still all tender thoughts retain/ ' 



So the angel ceased, and gently 

O'er his little burden leant; 
While the child gazed from the shining, 

Loving eyes that o'er him bent, 
To the blooming roses by him, 

Wondering what that mystery meant. 



26 ADELAIDE A. PROCTER 

Thus the radiant angel answered 
And with tender meaning smiled; 

"Ere your childlike, loving spirit, 
Sin and the dark world defiled, 

God has given me leave to seek you, — 
I was once that little child !" 



In the churchyard of that city 
Rose a tomb of marble rare, 

Decked, as soon as Spring awakened, 
With her buds and blossoms fair, — 

And a humble grave beside it, — 
No one knew who rested there. 



THE NAMES OF OUR LADY 27 



THE NAMES OF OUR LADY 



[Like every true child of genius, Miss Procter finds her 
tenderest sentiments in religious expression. Her hymns 
and poems are the outpourings of the love of God and His 
holy Mother. With the true Faith she imbibed a tender 
love for Mary. 

Her lines on " The Names of Our Lady " show her heartfelt 
and varied devotion to our Immaculate Queen.] 

Through the wide world thy children raise 

Their prayers, and still we see 
Calm are the nights and bright the days 

Of those who trust in thee. 

Around thy starry crown are wreathed 

So many names divine; 
Which is the dearest to my heart, 

And the most worthy thine? 

Star of the Sea: we kneel and pray 

When tempests raise their voice; 
Star of the Sea! the haven reached, 

We call thee and rejoice. 

Help of the Christian: in our need 

Thy mighty aid we claim; 
If we are faint and weary, then 

We trust in that dear name. 



28 ADELAIDE A. PROCTER 

Our Lady of the Rosary: 

What name can be so sweet 
As what we call thee when we place 

Our chaplets at thy feet. 

Bright Queen of Heaven: when we are sad r 

Best solace of our pain: — 
It tells us though on earth we toil, 

Our Mother lives and reigns. 

Our Lady of Mount Carmel: thus 

Sometimes thy name is known; 
It tells us of the badge we wear, 

To live and die thine own. 

Our Lady Dear of Victories: 

We see our faith oppressed, 
And, praying for our erring land, 

We love that name the best. 

Refuge of Sinners: many a soul, 

By guilt cast down, and sin, 
Has learned through this dear name of thine 

Pardon and peace to win. 

Health of the Sick: when anxious hearts 

Watch by the sufferer's bed, 
On this sweet name of thine they lean, 

Consoled and comforted, 



THE NAMES OF OUR LADY 

Mother of Sorrows: many a heart 

Half broken by despair 
Has laid its burden by the Cross 

And found a mother there. 

Queen of all Saints: the Church appeals 

For her loved dead to thee; 
She knows they wait in patient pain 

A bright eternity. 

Fair Queen of Virgins: thy pure band, 

The lilies round thy throne, 
Love the dear title which they bear 

Most that it is thine own. 

True Queen of Martyrs: if we shrink 

From want, or pain, or woe, 
We think of the sharp sword that pierced 

Thy heart, and call thee so. 

Mary: the dearest name of all, 

The holiest and the best; 
The first low word that Jesus lisped 

Laid on His Mother's breast. 

Mary: the name that Gabriel spoke, 
The name that conquers hell; 

Mary: the name that through high heaven 
The angels love so well. 



30 ADELAIDE A. PROCTER 

Mary — our comfort and our hope, — 
O, may that word be given 

To be the last we sigh on earth, — 
The first we breathe in heaven. 



QUOTATIONS 31 



QUOTATIONS FROM MISS PROCTER 

" Know, dear little one ! our Father 

Will no gentle deed disdain; 
Love on the cold earth beginning 

Lives divine in Heaven again, 
While the angel hearts that beat there 

Still all tender thoughts retain." 

— AngeVs Story. 



Judge not; the workings of his brain 
And of his heart thou canst not see; 

What looks to thy dim eyes a stain, 
In God's pure light may only be 

A scar, brought from some well-won field, 
Where thou wouldst only faint and yield. 

— Judge Not. 



One by one thy duties wait thee, 
Let thy whole strength go to each, 

Let no future dreams elate thee, 

Learn thou first what these can teach. 

— One by One. 



32 ADELAIDE A. PROCTER 

Rise! for the day is passing, 

And you lie dreaming on; 
The others have buckled their armor, 

And forth to the fight are gone: 
A place in the ranks awaits you, 

Each man has some part to play; 
The Past and the Future are nothing; 

In the face of the stern to-day. 



— Now. 



Let thy gold be cast in the furnace, 

Thy red gold, precious and bright; 
Do not fear the hungry fire 

With its caverns of burning light; 
And thy gold shall return more precious, 

Free from every spot and stain; 
For gold must be tried by fire, 

As a heart must be tried by pain. 

— Cleansing Fires. 

Pray; though the gift you ask for 

May never comfort your fears, 
May never repay your pleading, 

Yet pray, and with hopeful tears; 
No real Poet ever wove in numbers 

All his dream; but the diviner part, 
Hidden from all the world, spake to him only 

In the voiceless silence of his heart. 

— Unexpressed. 

Great may he be who can command 
And rule with just and tender sway; 

Yet is diviner wisdom taught 
Better by him who can obey. 

— Maxims. 



QUOTATIONS 33 

The prayer of those who suffer 

Has the strength of Love and Death. 

• — The Tyrant and the Captive. 



God's world has one great echo; 

Whether calm blue mists are curled, 
Or lingering dew-drops quiver, 

Or red storms are unfurled. 
The same deep love is throbbing 

Through the great heart of God's world 
An answer, not that you long for, 

But diviner, will come one day; 
Your eyes are too dim to see it, 

Yet strive, and wait, and pray. 

— Strive, Wait and Pray. 

O, these are voices of the Past, 

Links of a broken chain, 
Wings that can bear me back to times 

Which cannot come again; 
Yet God forbid that J should lose 

The echoes that remain! 

— Voices of tfie Past. 



Give thy heart's best treasures, 

From fair Nature learn; 
Give thy love — and ask not, 

Wait not a return! 
And the more thou spendest 

From thy little store, 
With a double bounty 

God will give thee more. 

— Give. 

LofC. 



34 



ADELAIDE A. PROCTER 



Learn the mystery of Progression duly; 

Do not call each glorious change, Decay; 
But know we only hold our treasures truly 

When it seems as if they passed away. 

— Incompleteness. 



Words are mighty, words are living; 

Serpents with their venomous stings, 
Or bright angels crowding round us, 

With heaven's light upon their wings: 
Every word has its own spirit, 

True or false, that never dies*, 
Every word man's lips have uttered 

Echoes in God's skies. 



— Words. 



A little longer still Patience, Beloved : 
A little longer still, ere Heaven unroll 

The Glory and the Brightness and the Wonder, 
Eternal and divine, that waits thy soul! 

— A Little Longer. 



QUESTIONS 35 



QUESTIONS 



A Lost Chord 



1 Who is the author of "A Lost Chord ?" 

2 From what gifted pen have we a short sketch of her life? 

3 Which are the best known of Miss Procter's poems? 

4 What are the characteristics of her poems? 

5 Why are they popular? 

6 How does Charles Dickens first receive her poems? 

7 How does "A Lost Chord" rank among her works? 

8 To what class of poetry does it belong? 

9 Which of her other poems are of the same tenor? 

10 What is the purpose of "A Lost Chord?" 

11 Describe the style of the poem. 

12 What forms of stanza and rhyme are used? 

13 Scan the second stanza. 

14 Quote the lines from Lowell's "Vision of Sir Launfal " 
suggested by the first stanza. 

15 Where does the poet carry you in thought when she 
speaks of being seated at the organ? 

16 Why do we associate the organ with the church? 

17 Could the organist have been playing for any service? 

18 What lines in this poem recall the w r ords, "Music 
hath charms to soothe the savage breast?' ' 



36 A DEL 'IDE A. PROCTER 

19 At what hour oi the day was she playing? 

20 What picture ri s before the mind with the words: 

"It lay on ii y fevered spirit 
With a touch of infinite calm?" 

21 Explain the paradox in lines 15 and 16. 

22 What is the " one lost chord divine " which the poet's 
soul is seeking?" 

23 When does the poet hope to hear it again? 

24 Give the origin of the word ''Amen." 

25 What is a psalm? 

26 Who is the Royal Psalmist? When did he live? 

27 What is meant by an " Angel's Psalm?" 

28 What is a chord? 

29 Who only can give "infinite calm?" 

30 Point out the figure in lines 23 and 25. 

31 Why is the word Heaven capitalized? 

32 Why are the organ keys called "noisy"? 

33 What mention is made of the organ in history? 

34 What pictures does this poem create in the imagination? 

35 Give the keynote of the poem. 



QUESTIONS 37 



QUESTIONS 



Incompleteness 



1 To what class of poetry does " Incompleteness " belong? 

2 What lesson does the poem give? 

3 What is its keynote? 

4 What is its style? 

5 Give the structure of the verse. 

6 In what does the poet say consists the worth and beauty 
of every created object? 

7 What is the real glory of the Spring? 

8 Give the development of the four Seasons. 

9 In what sense is each year a new creation? 

10 What hope enhances the beauty of the dawn? 

11 Of what does the mysterious twilight give promise? 

12 How do Childhood's smiles borrow unconscious graces 
from strife? 

13 Why is it said "Men and women are children of a 
larger growth?" 

14 Explain the contrast that lies between " Angel glances " 
and "Life's sorrow." 

15 What meaning lies hidden in the 17th and 18th lines 
of this poem? 



38 ADELAIDE A. PROCTER 

16 What lines of Longfellow's "Psalm of Life" do they 
recall? 

17 In what lines has the poet reached the climax? 

18 What renders human love perfect? 

19 By what great mystery of religion has human love be- 
come literally divine? 

20 In what consists the mystery of Progression? 

21 What figure predominates? 

22 What beautiful antithesis in the third stanza? 

23 What transformation does line 22 suggest? 

24 What is the meaning of the last line? 



gnglish Vttblxzuiwm fnr SEtffndarg 

XXth CENTURY SHAKESPEARE SERIES: 

Edited by C. L. Hooper, of the North- West Division High School, Chicago, 
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Julius Caesar, 194 pages. Illustrated. Hamlet, 218 pages. Macbeth, 168 pages. King 
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The editor of the XXth Century Series has kept in mind two distinct features :— 

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poet, and what interests him is The Play, and he wants to study it as a play. 

Second: To give more aid in the forming of the stage pictures; the appearance, 
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Preceding the notes on each scene, is a description of a stage setting — a picture 
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accounts ( 

an AristCM 

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